This study is an examination of issues affecting the use of a shared graphic space (SGS). A working definition for an SGS is a virtual, computer-mediated blackboard that allows the simultaneous presentation and editing of visual information by two or more participants. The issues affecting the use of an SGS involve how people communicate with it. The addition of any technology into an already complicated situation like distance learning should be examined from multiple angles. In order to examine an SGS as a channel for communications, this study framed the SGS in terms of the nature of the feedback and noise that are present when we examine interactions in this space. This study examined 16 dyads interacting with whiteboard software to communicate solutions to 6 tangram puzzles. In all problem sets, participants used the text inherent in the whiteboard software as well as graphics to communicate potential solutions with each other in dyads. The participants also had access to audio for communications during either the first 4 or final 2 problem sets. Analysis of the results of this study show that the use of graphics for communication is dependent on accompanying communication channels. The addition of an audio channel for communications inhibited the use of text for communications. Graphics were used concurrently with audio as a dynamic enhancement to verbal communications. Graphics were not used concurrently with text. Graphics either occurred before or after text and were used as static illustrations or were used independent of text. The feedback mechanisms for the SGS were largely through the text or audio modes of communication. The graphic capabilities inherent to the SGS were an affordance to present and manipulate visual information. The SGS encourages new ways to interact and unique patterns of interactions between users. The manner in which graphics were used by each dyad was determined by the dyad and did not conform across the dyads. The unstructured nature of the SGS was a contributing factor in causing differentiation of the inter-dyad communication from intra-dyad communication. This lack of structure in the SGS was a source of noise in, as well as a source of freedom for, interactions in the SGS. The development of an etiquette for interacting in this unstructured space was developed dynamically and pragmatically and should be a source of future study. Shared space, that can be used for simultaneous, real time communications with graphics, changes the manner in which teachers and students can collaborate and construct new learning environments. / Ph. D.

[pt] Ao identificar o objeto da disciplina do design gráfico como o espaço gráfico de leitura, e sua condição mais específica na experiência de tornar visíveis as palavras e as idéias, reconhecemos do ponto de vista do leitor que todas as formas derivadas do uso do Desenho e escrita, adquirem sentido nesse espaço como consequência do poder universal de suas conexões. Nesta perspectiva, identificamos que o objeto desta pesquisa é o processo de transferência de conhecimento gráfico que ocorre durante a segunda metade do século XV no contexto da implementação da imprensa. Isso envolve considerar, como tipógrafos e gravadores fazem a transição da tradição do Manuscrito iluminado da Idade Média para o advento da imprensa. Esta tese está focada no campo da abstração de cores que leva a compreender o caráter estrutural que adquire a escala de cinza no espaço gráfico, como consequência do consenso quanto à falta de uso de cores no livro impresso. Assim, o objetivo desta pesquisa é mostrar a relevância da luminosidade no espaço gráfico, considerando especialmente a comparação entre o caráter acromático da gravura e o aspecto inacabado do texto literário referido ao ato de leitura. A observação dos aspectos geométricos, cromáticos e caligráficos neste contexto permite atribuir a particularidade dessa abstração a uma compreensão cultural da correspondência entre a escala de cinza e a luminosidade das cores. Tudo isso na invenção conjunta de gravura e tipografia. / [en] By identifying the object of the discipline of graphic design as the graphic space of reading and its more specific condition in the experience of making words and ideas visible, we recognize from the point of view of the reader, that all forms derived from the use of the Drawing and writing acquire meaning in that space, as a consequence of the universal power of their connections. From this, we identify that the object of this research is the process of transfer of graphic knowledge that occurs during the second half of the 15th century in the context of the implementation of the printing press. This involves considering how typographers and engravers make the transition from the tradition of the illuminated Manuscript of the Middle Ages to the advent of the printing press. This thesis is focused on the field of abstraction of colors that leads to understand the structural character that acquires the gray scale in the graphic space, as a consequence of the consensus regarding the lack of use of colors in the printed book. Thus, the aim of this research is to show the relevance of the luminosity in graphic space, considering especially the comparison between the achromatic character of the engraving and the unfinished aspect of the literary text referred to the act of reading. The observation of the geometric, chromatic and calligraphic aspects in this context, allow us to attribute the particularity of that abstraction to a cultural understanding of correspondence between the gray scale and the luminosity of the colors. All this in the joint invention of engraving and typography. / [es] Al identificar el objeto de la disciplina del diseño gráfico como el espacio gráfico de la lectura y su condición más específica en la experiencia de hacer visibles las palabras y las ideas, reconocemos desde el punto de vista del lector que todas las formas derivadas del uso del dibujo y la escritura, adquieren sentido en aquel espacio como consecuencia del poder universal de sus conexiones. A partir de esta perspectiva, identificamos que el objeto de esta investigación es el proceso de transferencia del conocimiento gráfico que ocurre durante la segunda mitad del siglo XV en el contexto de la implementación de la imprenta. Esto implica considerar cómo tipógrafos y grabadores realizan la transición desde la tradición del Manuscrito iluminado de la Edad Media hacia el advenimiento de la imprenta. Está tesis está enfocada en el campo de abstracción de los colores que conduce a comprender el carácter estructural que adquiere la escala de grises en el espacio gráfico, como consecuencia del consenso respecto de la prescindencia del uso de los colores en el libro impreso. Así, el objetivo de esta investigación es mostrar la relevancia de la luminosidad en espacio gráfico, considerando especialmente la comparación entre el carácter acromático del grabado y el aspecto inacabado del texto literario referidos al acto de leer. La observación de los aspectos geométricos, cromáticos y caligráficos en este contexto, nos permiten atribuir la particularidad de esa abstracción a una comprensión cultural de correspondencia entre la escala de grises y la luminosidad de los colores. Todo esto en la invención conjunta del grabado y la tipografía.